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Xing presents the second edition of Live Arts Week, held in Bologna, Italy, until 21 april 2013 at MAMbo – Museo d’Arte Moderna di Bologna and other locations.

This event dedicated to live arts, unique in Italy, hosts a blend of new productions that revolve around the presence, performance and perceptual experience of sounds and visions.

The decision to launch it as a ‘week’ is an attempt to break away from the concept of a festival as a consumer point in the cultural life of a city. This is rather a case of a co-habitation of diversified forms – differing in size and intensity – concentrated into a limited time frame, proposing a vision of art as something complex but cohesive.

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Vampire is a dreamlike journey in search of Nok Phii, a strange mythical bird that feeds itself on the blood of other animals. Nok Phii lives, or has lived, between Thailand and Burma.

M Hotel is a portrait of a hotel. Two boys take pictures in a room. But the sound deeply disturbs the vision, opening terrifying narrative scenarios. Read more

From 31 March to 9 April on vdrome.org

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The Tiger’s Mind is a crime thriller set against the backdrop of a Brutalist villa. In it, six characters – Tiger, Mind, Tree, Wind, Circle and a girl called Amy (that respectively correspond to the set, music, sounds, special effects, director and narration) – battle one another for the control over the film, which explores the unfolding of their relationships. Watch the entire film on vdrome.org

With the exhibition “Tweemaal door de Blinden, tentoonstellingen over de samenwerking tussen de duistere krachten van het id en de sociaaleconomische perversie van de werkelijkheid” (Twice through the blinds, exhibitions on the collaboration between the dark forces of the id and the social-economic perversion of the real), Etablissement d’en face presents Norwegian artist Steinar Haga Kristensen’s first solo-exhibition in Belgium.

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Ivan’s Ecstasy

Bryan Dooley / Ed Fornieles / Alistair Frost

8th March, 2013

CHEWDAY’S

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Nav Haq, in conversation with Jos de Gruyter & Harald Thys, on the occasion of their exhibition at M HKA.

Your works, especially the videos, seem to me to have strong visual connections to a wide spectrum of visual culture – everything from the austerity of Samuel Beckett plays through to the homespun charm and nostalgia of children’s television. Could you tell me about your influences?

Harald: There was this scene, the final scene in ‘Händler der vier Jahreszeiten’ by Fassbinder where the main character Hans Epp is sitting at the head of a table in a bar surrounded by some ‘friends’ and his wife Frau Epp. After drinking 20 schnapps he falls dead with his head on the table. It is an extremely German scene and the monologue in this scene by Hans Epp has worked like a mantra for us for 25 years. Then during boring trips to Germany and France we encountered these characters (people, architecture, puppets) in remote cities that we got obsessed and traumatised by, and then slowly developed them into main characters. You know that these characters or strange situations will never leave our minds. There is the character of Aline, a woman in her forties living in La Louviere. She is obsessed with a disgusting recipe with scampi. She is also very active in swinger’s clubs in Wallonia.

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Wildness is a documentary portrait of Silver Platter, a historical nightclub that hosted the Latin/LBGT communities of LA since the early 1960s. The bar is the narrator of the film, describing in the first person the advent of a weekly party entitled Wildness (organised by director Wu Tsang and DJs NGUZUNGUZU & Total Freedom), which shatters the identity of the nightclub.

Wildness is on screen on vdrome.org until tomorrow, Sunday, March 10.

Mousse offre la possibilità di uno stage trimestrale da marzo a giugno 2013 all’interno della propria redazione di Milano. Laureati o studenti dell’ultimo anno di facoltà umanistiche, beni culturali, scienze della comunicazione, lingue, DAMS, diplomati o studenti delle Accademia di Belle Arti, studenti di Master in giornalismo e comunicazione ecc. hanno l’opportunità di entrare nel vivo della produzione di una rivista internazionale e di aggiungere una voce importante al proprio curriculum.

Si richiede interesse per l’arte contemporanea, ottime capacità di scrittura, ottimo inglese, cortesia, un minimo di flessibilità e, possibilmente, ma non necessariamente, una conoscenza di base del programma InDesign. Le domande, con allegato il proprio curriculum ed eventuali prove di scrittura (due/tre recensioni/articoli) – inedite o pubblicate – devono essere indirizzate a chiara@moussemagazine.it con oggetto “Stage”.

Dear Friends,

We are happy to introduce you to Vdrome, an online platform that offers regular, high quality screenings of films and videos directed by visual artists and filmmakers, whose production lies in-between contemporary art and cinema. Each screening is presented during a limited period, as in a movie theatre.

Vdrome makes available a programme of exceptional artists’s films and videos that are selected due to their importance, quality and innovative strength, many of which are only shown in the context of film festivals, exhibitions or specific surveys, being therefore of very limited access.

Starting from today, Vdrome is online with Spectres by Sven Augustijnen.

Warmly,
Mousse

Trisha Baga interviewed by Jenny Jaskey on the occasion of “Plymouth Rock 2″, Baga’s first US solo show.

Jenny Jaskey: Your work currently on view at the Whitney Museum, Plymouth Rock 2, presents a fractured narrative. It seems to suggest, to borrow Adorno’s aphorism, that “the whole is untrue”. I’m wondering if you could speak a bit more about your interest in the fragment and in returning to an icon of past without looking for an origin.

Trisha Baga: Now that you’ve got me thinking about the word origin (even though I’ve been listening to that song “Origin of Love” from Hedwig and the Angry Inch over and over again for the past four months), I think the origin you are referring to, I think to me, that is the present – the here, now experience. Which is such a dumb and impossibly slippery thing, but we are all subject to grasping at it, each from our singular bodies. What we experience is only a fragment of what we are aware of and vice-versa, and what I am interested in is the stuff that fills the gaps. Desire is a part of it, and I am realizing that the 3D video piece I just showed you (the long one with fireworks and karaoke starships) is about, well, this is what I wrote in my notebook earlier today: the desire to exceed the body, and how that led to sports, the industrial revolution, 3DTV, and Madonna.

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It has been written that FRANCE FICTION has described themselves as a highly adaptable person – who for the lack of a better term could described as a plastic. At Museo Experimental El Eco, this plastic is furthered on the subconscious plane through an act of speech triggered to the surface by recorded awakenings. Exhaustive and durational, FRANCE FICTION have spent days and nights in collective isolation at the museum building stories, protocols, and rhythms whose resulting brain pattern – if it were to be recorded – would show up as a strange configuration. It would build an account of secret deals, pacts, and intimacies indescribably impalpable, though physical as well.

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October – November 2012

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(click)

RSVP

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An interview with Pedro Wirz by Adnan Yildiz

Adnan Yildiz: How do you introduce your work; what is the conceptual framework you mostly provide to talk about your work?

Pedro Wirz: Shortly, I would define my practice through concepts such as the construction of networks and systems of communications at different levels of operation; cooperative work and collaborative thoughts sometimes disguising the authorship. But mostly my works are basically a set of rules which lead it through a process that are the most important parts of the work. Also to answer this question, I want to talk about a text, which was so important for me during the school years. It is called as “Sentences on conceptual art” (1967) written by Sol LeWitt. It might be taken as a cliche to say this, but this text made me think about making art as something that could be understood. I was raised a small town in Brazil, called Pindamonhangaba. Well, I was born in São Paulo, but I was raised in this town, where there isn’t any real cultural centre. The only museum in the town was closed for renovations when we moved – and was still closed due the renovations until I moved away almost 15 years later. As a kid and a teenager, I never had a direct and real contact to the art world. This just happened when I moved to Europe. I like the “complex simplicity” of Sol Lewitt’s text and the how it tries to shape the way of thinking about the production of art. I could easily use some parts of this essay to describe my way of producing art, such as, “Irrational thoughts should be followed absolutely and logically”, or “The concept of a work of art may involve the matter of the piece or the process in which it is made”. Both of these sentences could be a good way of describing what I’m doing.

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Esperanto’s failure to become a commonly spoken language is a fact, just as modern architecture has not become part of the mainstream: there are other kinds of lingua franca today. Like Esperanto, architecture intended to constitute a common ground appears instead to be sectarian in the midst of contemporary pluralism.

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Any festival deserving its name should rely upon a festive mood. And, like any party, it should have a theme. How to infuse a series of synchronized art events with such feel, one that could hopefully draw public attention and participation, appeared to be central to the Copenhagen Art Festival—the team work of five art centres.

(Yes seriously, Copenhagen, inner city population of 400,000, boasts 5 kunsthalles all whithin walking distance. Such a density might raise a few questions about the risk of omologation of their programmes, dispersion of funding, and competition for the best chunck—all rather nasty scenarios the naïve visitor should better leave aside until the next visit.)

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